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    Theorie van het kleine licht

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    Review of Georges Didi-Huberman (2022) Het Voortleven van de Vuurvliegjes. Vertaling: Ineke van der Burg. Amsterdam: Octavo Publicaties

    Paradise Lost in Derrida and Agamben:onto-theology of animal life

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    In this essay, I explore the philosophical resonance of the theologi-cal notion of Paradise in the works of Giorgio Agamben and JacquesDerrida through the question of the Paradisiacal belonging ofanimal life. What is the significance of Paradise for these authors?This essay undertakes the search for the meaning of Paradise byway of these thinkers’ assessment of animal or creaturely life.I argue that their differing attitudes towards the life of the animalor creature expose a fundamental discord concerning exactly thisissue: the significance of theology, and the myth of Paradise and theFall. To be precise, it is argued that Derrida means to preclude thenarrative of the Fall. Agamben, on the other hand, takes the animalas creature, and thus as a proper theological subject – which in thiscontext means an Edenic exile – and accordingly as a proper subjectof redemption. So, where Derrida intervenes in an encounterbetween human and animal prior to Paradise, Agamben joins thestory after man was driven from it. In turn, this essay covers theissue of Derrida and Agamben’s messianic terminologies, the ontol-ogy of the animal as being-after, and ultimately, the conceptualunderstanding of Paradise

    Outlived by a lesser shamelessness: the inscrutable subject and sensuality before the Law in Augustine, Dostoevsky and Kafka

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    This essay sets up a constellation of Augustine, Dostoevsky and Kafka. The paper will demonstrate how for these figures, self-knowledge is compromised in related, but differing ways. How can the subject maintain their identity as categorically different from its impressions, and what is the role of law therein? For Augustine, self-knowledge becomes a problem due to the structure of time, but also because of the way in which God perceives us. Between Dostoevsky and Kafka, there is a development wherein the role of God is usurped by that of a secular law, and God's judgement is deferred. If for Dostoevsky, secular law can be an instrument of divine law, for Kafka the distinction, and more importantly the hierarchy between them, seems unsustainable. The evidence to examine these hypotheses by has to do with sensuality and sensory perception: how does the subject navigate the world? The trajectory moves from the Augustinian Christian opacity, to Dostoevsky's Raskolnikov and Kafka's The Trial, drawing an arc from a religious and phenomenological ontology to a modern imaginary of an existence increasingly irredeemable. Indeed, this essay joins the contemporary discussions of critically engaging with subjectivity, as a bio- and psycho-political liability.Funding This work was supported by Senses-based learning | NRO [405.21865.709]] Acknowledgements I would like to thank Paul Davies of Sussex University for our conversation on the topic. Also, I am grateful to Agustín Parise and the students of the Law in Historical Fiction course at Maastricht University Law Faculty. I would like to thank Emilie Sitzia and Elene Kadagidze and the team of the Senses-Based Learning Comenius Leadership Project for their support. Finally, I would like to acknowledge the two anonymous reviewers for their valuable comments and questions
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